"Monk's Bones"
International Trombone Association Journa
Likewise, the younger Perkoff finds himself firmly rooted in the avant-garde, equipped to cross slikdes in a post-bop skirmish while still ably navigating the more standard approach. The two embark on a number of occasions into plunger solos and the use of other muted textures that benefit the listener by adding coloring as well as a new voice to both melody and solo sections.
The final two tracks of the disc, which utilize a traditional improvisatory approach, include the classics "I Mean You" and "Blue Monk," a tune that captures the musical imagery of the arrangements a la Jay and Kai. Thelonious Monk fans will welcome the arrangements in the more traditional vein as well as those more aggressive, slippery tracks that include many of his great works such as "Friday the Thirteenth" and "Little Rootie Tootie." And, what clebration of the eccentric pianist is complete without a performance of "Round Midnight?"
Monk's Trio is a fine group backing two remarkable trombonists in their adventure into the more avant-garde style of trombone improvisation. With some edgy arrangements and new ideas, MONKS BONES sets itself apart from the pack in any jazz trombone CD collection.
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"The big jazz record of 2005 was a concert recording by Thelonious Monk, who’d died in 1982. Before his death, few jazz musicians specialized in playing his tunes, although there were exceptions like Steve Lacy and Roswell Rudd. Since Monk passed, bands on several continents have dedicated themselves to playing his music. Jazz critic Kevin Whitehead reviews a new CD by California’s Monk’s Music Trio, joined by a couple of guests.
The Bay Area pianist Si Perkoff knew Thelonious Monk and knows plenty of his tunes. Five or six years ago drummer Chuck Bernstein invited him to join a trio devoted to playing Monk. That was a good idea. Sometimes the pianist’s son, trombonist Max Perkoff would guest with the trio, and then Bernstein had the idea to pair him up with another slide trombonist, the legendary—make that beloved—Roswell Rudd. That was a very good idea. Rudd has played in a few Monk specialty bands going back to the early 60s, and enjoys romping with other trombones. So he took to this lineup like a duck to plum sauce.
Two trombones—that’ll wake anybody up. Especially when they schmear one note up against one right next to it, the way Monk would on piano. I like the previous albums by Monk’s Music Trio, but “Monk’s Bones” leaves ’em in the dust. Bass player Sam Bevan is new to the band, but everybody knows the repertoire so well, they know just how to stay in or out of each other’s way. And you can always tell trombonists apart when Rudd is one of them—he’s always the bigger extravert. Max Perkoff favors a fairly straightforward tone; the integrity of his lines is what counts. Rudd’s improvising is frowsier, often colored by various mutes, to give a more vocalized sound, as in Duke Ellington’s band.
Monk’s tune “Little Rootie Tootie.” Another reason Roswell Rudd has made some great records, aside from the way he plays, is the way he treats the musicians he works with. Rudd is so warm, enthusiastic and committed, so obviously knocked out by what they’re playing, they can’t help feeling motivated.
Thelonious Monk’s compositions are central to the jazz tradition now, but only a couple of decades ago, many musicians found his pieces hard to play. Typically they’d either imitate Monk and his band, playing not too many notes, or they treated his tunes like any other excuse to run their horns. On the CD “Monk’s Bones” you hear five players who really understand the material and play it their own way—some friendly Monkish piano plinks aside. The quintet get the logic of Monk’s pieces, literally get into the swing of them. In the end that’s way more important than how few or many notes they play."
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The trombone tandem is a perfect fit for the quirkiness and inherent humor of the familiar Monk tunes especially on the more uptempo numbers. The ebullient performances are fun and fresh, with just enough discordance in the trombone leads to jolt the listener to attention. “Monk’s Dream,” “Crepuscule With Nellie,” and “San Francisco Holiday” are good upbeat places to start, while the stark take on “’Round Midnight” and the jaunty “Blue Monk” provide a bit of emotional contrast.
ejazznews.com
Trombones rule the day in "Round Midnight" (the highlight of this recording). This is one of Thelonious Monk's most introspective and revered compositions. The 'bones work it for all its worth.
"Blue Monk" has been described as an inebriated musical piece due to its languorous style and pace. Here it is in all its glory.
This is an album for true Monk aficionados. 3 Stars